February Cantata Bulletin

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Welcome to Grace Lutheran Church We are glad that you have joined us for this afternoon’s Bach Cantata Vespers. For those who have trouble hearing, sound enhancement units are available in the back of the church and may be obtained from an usher. Please silence all cell phones and pagers. Recording or photography of any kind during the service is strictly forbidden. We ask that you kindly refrain from applause during this service of worship.

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Second Sunday in Lent February 25, 2018 + 3:45 p.m.

EVENING PRAYER

PRELUDE Praeludium in F-sharp minor, BuxWV 146 Vater unser im Himmelreich, BWV 682 Our Father, who in heaven above

Dieterich Buxtehude (1637–1707) Johann Sebastian Bach (1685–1750)

Steven Wente, organ

We stand, facing the candle as we sing.

SERVICE OF LIGHT

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We sit.

+ PSALMODY +

PSALM 141 Women sing parts marked 1. Men sing parts marked 2. All sing parts marked C.

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Silence for meditation is observed, then:

PSALM PRAYER L Let the incense of our repentant prayer ascend before you, O Lord, and let your lovingkindness descend upon us, that with purified minds we may sing your praises with the Church on earth and the whole heavenly host, and may glorify you forever and ever. C Amen. 6

MOTET: The Only Son from Heaven The only Son from heaven, Foretold by ancient seers, By God the Father given, In human form appears. No sphere his light confining, No star so brightly shining As he, our Morning Star.

Setting by Michael D. Costello (b. 1979)

Awaken, Lord, our spirit To know and love you more, In faith to stand unshaken, In spirit to adore, That we, through this world moving, Each glimpse of heaven proving, May reap its fullness there. Elizabeth Cruciger, 1500–1535; tr. Arthur T. Russell, 1806–1874, alt.

Silence for meditation is observed, then:

COLLECT L Lord God, heavenly Father, in the fullness of time you sent your Son, the bright Morning Star, to show forth your glory in the world. Grant that his light may shine into hearts by the power of your Holy Spirit, and that our spirits may be awakened to love and serve you more, for you live and dwell in perfect unity: Father, Son, and Holy Spirit, one God, now and forever. C Amen. The offering is gathered.

VOLUNTARY Toccata (from Das holsteinisches Orgelbüchlein, Op. 32)

Hans Friedrich Micheelsen (1902–1973)

The offering assists in defraying costs of the Bach Cantata Vespers ministry. Please make checks payable to Grace Lutheran Church. Your generosity is appreciated.

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At the conclusion of the organ voluntary, we stand and sing.

HYMN: To God the Holy Spirit Let Us Pray

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Reprinted by permission of OneLicense.net license #A-704569.

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Stanza three setting by Hans Leo Hassler (1564–1612)

+ WORD + We sit.

READING: 1 Corinthians 1:4–8 [St. Paul writes:] 4I give thanks to my God always for you because of the grace of God that has been given you in Christ Jesus, 5for in every way you have been enriched in him, in speech and knowledge of every kind — 6just as the testimony of Christ has been strengthened among you — 7so that you are not lacking in any spiritual gift as you wait for the revealing of our Lord Jesus Christ. 8He will also strengthen you to the end, so that you may be blameless on the day of our Lord Jesus Christ.

L The Word of the Lord. C Thanks be to God.

READING: Matthew 22:34–46 34When the Pharisees heard that [Jesus] had silenced the Sadducees, they gathered together, 35and one of them, a lawyer, asked him a question to test him. 36Teacher, which commandment in the law is the greatest? 37He said to him, “‘You shall love the Lord your God with all your heart, and with all your soul, and with all your mind.’ 38This is the greatest and first commandment. 39And a second is like it: ‘You shall love your neighbor as yourself.’ 40On these two commandments hang all the law and the prophets.” 41Now

while the Pharisees were gathered together, Jesus asked them this question: 42What do you think of the Messiah? Whose son is he? They said to him, “The son of David.” 43He said to them, “How is it then that David by the Spirit calls him Lord, saying, 44‘The Lord said to my Lord, “Sit at my right hand, until I put your enemies under your feet”’?

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David thus calls him Lord, how can he be his son?” 46No one was able to give him an answer, nor from that day did anyone dare to ask him any more questions.

L The Word of the Lord. C Thanks be to God.

HOMILY

Mark A. Noll

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CANTATA: Gott soll allein mein Herze haben, BWV 169

Johann Sebastian Bach

Translation of the German text and notes corresponding to each movement are below. Background notes for the cantata are found on page 20 in this worship folder.

1. Sinfonia In the cantata’s energetic opening movement Bach reuses music from a concerto for oboe, violin or flute that has been lost. Here the solo part is given to a virtuosic organist, and the orchestra is given more weight with the addition of a trio of oboes. The first section is in D major and the middle in the relative minor; a full repeat of the first section follows, in true da capo style. The opening themes return again and again, traded back and forth from soloist to orchestra, showing in the music the joy and exhilaration of loving God.

2. Arioso Gott soll allein mein Herze haben. God alone shall have my heart. Zwar merk ich an der Welt, Though I note well about the world, Die ihren Kot unschätzbar hält, Which considers its excrement invaluable, Weil sie so freundlich mit mir tut, Since the world is so friendly toward me, Sie wollte gern allein It would like alone to be Das Liebste meiner Seele sein. The favorite of my soul. Doch nein; Gott soll allein mein Herze haben: But no. God alone shall have my heart: Ich find in ihm das höchste Gut. I find in him my highest good. Wir sehen zwar We do see indeed Auf Erden hier und dar On earth here and there Ein Bächlein der Zufriedenheit, A little brook of satisfaction, Das von des Höchsten Güte quillet; Springing from the Highest’s goodness; 10

Gott aber ist der Quell, mit Strömen angefüllet, God, however, is the source, flowing with streams, Da schöpf ich, was mich allezeit From which I get what for all time Kann sattsam und wahrhaftig laben: Can amply and truly refresh me: Gott soll allein mein Herze haben. God alone shall have my heart. This lovely little movement is organized around repetitions of the motto “God alone shall have my heart.” The continuo introduces the melody that is then taken up by the soloist. A section of recitative describes things of earth that have little worth, and then the motto is restated, with elaboration. In a second section of recitative, the things of earth are compared to God: a Bächlein, a little brook (wordplay on the composer’s name) is nothing in comparison to the mighty fountain that is God. The arioso melody returns inevitably, once more to state “God alone shall have my heart.”

3. Aria Gott soll allein mein Herze haben, God alone shall have my heart; Ich find in ihm das höchste Gut. I find in him the highest good. Er liebt mich in der bösen Zeit He loves me even in bad times Und will mich in der Seligkeit And wants to comfort me in blessedness Mit Gütern seines Hauses laben. With the good things of his house. This aria is closely tied to the previous movement by its restatement of the motto, as well as by tonality and timbre. The initial vocal line is an inversion, more or less, of the melody from the previous movement. The ornate organ accompaniment suggests the lavish, all-encompassing goodness of God. This movement is also in ABA da capo form; one cannot say it often enough— “God alone shall have my heart.”

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4. Recitative Was ist die Liebe Gottes? What is the love of God? Des Geistes Ruh, The spirit’s peace, Der Sinnen Lustgenieß, The mind’s delight, Der Seele Paradies. The soul’s paradise. Sie schließt die Hölle zu, It locks out hell, Den Himmel aber auf; But opens up heaven; Sie ist Elias Wagen, It is Elijah’s chariot, Da werden wir in Himmel nauf In which we shall be carried up to heaven In Abrahms Schoß getragen. Into the bosom of Abraham. The simple recitative explains how God’s love opens heaven to us, using the image of the chariot that carried the prophet Elijah up to heaven.

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5. Aria Stirb in mir, Die in me, Welt und alle deine Liebe, You world and all your loves, Daß die Brust So that my breast Sich auf Erden für und für On earth for ever and ever In der Liebe Gottes übe; May train in the love of God; Stirb in mir, Die in me, Hoffart, Reichtum, Augenlust, Arrogance, wealth, and lust of the eyes, Ihr verworfnen Fleischestriebe! You depraved desires of the flesh. Bach based this minor-key aria on the second, slow movement of the lost concerto, intertwining a new vocal line with the original music. With a 12/8 time signature it is a Baroque siciliano, a lilting melancholic lament over the things of the world that can get in the way of loving God. The off-beat pulses of the continuo throughout the movement intensify the complex rhythm and emotion of the aria.

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6. Recitative Doch meint es auch dabei But keep in mind also Mit eurem Nächsten treu! To be faithful with your neighbour! Denn so steht in der Schrift geschrieben: For it is written in the scriptures: Du sollst Gott und den Nächsten lieben. You should love God and your neighbour. While modulating from the minor key of the preceding aria to the major tonality of the final chorale, the recitative also makes a quick transition to the second part of Jesus’ great commandment: loving your neighbor.

7. Chorale Du süße Liebe, schenk uns deine Gunst, You sweet love: grant us your favor; Laß uns empfinden der Liebe Brunst, Let us experience love’s burning, Daß wir uns von Herzen einander lieben So that from our heart we love one another Und in Friede auf einem Sinn bleiben. And remain, of one mind, in peace. Kyrie eleis. Lord, have mercy. Bach assigns the final section of the cantata’s “sermon” on loving your neighbor to the choir. The text of this stanza from Luther’s hymn Nun bitten air den heiligen Geist provides a direct connection between God’s love and our love for one another.

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Silence is observed, then:

L In many and various ways God spoke to his people of old by the prophets. C But now in these last days he has spoken to us by his Son. We stand.

MAGNIFICAT

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+ PRAYERS + LITANY

After each petition:

L …let us pray to the Lord.

The litany continues:

L For the faithful who have gone before us and are at rest, let us give thanks to the Lord. 16

The litany concludes:

L Help, save, comfort, and defend us, gracious Lord. Silence is kept, then:

L Rejoicing in the fellowship of all the saints, let us commend ourselves, one another, and our whole life to Christ, our Lord.

L O God, from whom come all holy desires, all good counsels, and all just works: Give to us, your servants, that peace which the world cannot give, that our hearts may be set to obey your commandments; and also that we, being defended from the fear of our enemies, may live in peace and quietness; through the merits of Jesus Christ our Savior, who lives and reigns with you and the Holy Spirit, God forever. C Amen. L Lord, remember us in your kingdom and teach us to pray: C Our Father, who art in heaven, hallowed be thy name, thy kingdom come, thy will be done, on earth as it is in heaven. Give us this day our daily bread; and forgive us our trespasses, as we forgive those who trespass against us; and lead us not into temptation, but deliver us from evil. For thine is the kingdom, and the power, and the glory, forever and ever. Amen. BENEDICAMUS DOMINO

BENEDICTION

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HYMN: I Trust, O Lord, Your Holy Name

DISMISSAL L Go in peace. Serve the Lord. C Thanks be to God!

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Stanza three setting by Michael D. Costello

LEADING WORSHIP TODAY The Rev. David W. Wegner, leader Mark A. Noll, homilist Choir of Grace Lutheran Church The Rev. Michael D. Costello, cantor Steven Wente, organist Angela Young Smucker, mezzo-soprano Christine Janzow Phillips and Meg Busse, Oboe d’amore Nancy Hagen, English horn Dianne Ryan, bassoon Dmitri Pogorelov, Carol Yampolsky, and Lou Torick, violin I François Henkins and Amanda Fenton, violin II Naomi Hildner and Becca Wilcox, viola Jean Hatmaker, cello Douglas Johnson, double bass Timothy Spelbring, continuo organ Steven Wente, organ obbligato

Portions of this liturgy reprinted from Lutheran Book of Worship, copyright © 1978 by Augsburg Fortress and With One Voice, copyright © 1995 by Augsburg Fortress. Graphics reprinted from Sundaysandseasons.com. All rights reserved. All of the above used by permission of Augsburg Fortress liturgies license #38423. Notes on the cantata by Gwen Gotsch. Used by permission. Translation the cantata by Dr. Karen P. Danford. Used by permission.

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BACKGROUND OF THE CANTATA In Lutheran churches in 18th century Germany, the gospel lesson for the 18th Sunday after Trinity was Matthew 22:34–46. The Pharisees, “testing” Jesus, ask, “Which is the greatest commandment?” Jesus replies, “You shall love the Lord your God with all your heart, and with all your soul, and with all your mind … [and] your neighbor as yourself.” The libretto for Bach’s cantata for that Sunday in 1726, Gott soll allein mein Herze haben (God alone shall have my heart), BWV 169, concentrates on the first part of this “great commandment,” the love of God. Bach’s music, scored for solo alto, strings, oboes, continuo, organ obbligato, and four-part choir (for the finale chorale), elaborates on what it feels like to love God and to give one’s heart entirely to God. BWV 169 is part of Bach’s third cycle of cantatas, which extends from June 1725 through 1727. It is a more heterogeneous group than the one-year cycles of 1723–24 and 1724–25. This third cycle includes a number of solo and dialogue cantatas, with soloists singing arias rather than the choir singing large-scale choruses. Bach also introduces elaborate instrumental movements into many of the cantatas in the third cycle, including movements with a prominent part for organ. It seems he has moved on from the standard choral cantatas of his first years in Leipzig to work with more sophisticated forms and more accomplished musicians. Gott soll allein mein Herze haben is the last of the four cantatas Bach composed for solo alto. The first, Widerstehe doch der Sünde, BWV 54, dates from 1714, when he served the court of Weimar. The other three are from the summer and fall of 1726. BWV 169 is the first of six consecutive cantatas presented from October 20 through November 24, 1726, with librettos recently attributed to Christoph Birkmann, a student of mathematics, music, and theology at the University of Leipzig from 1725–27. These cantatas from late in the church year, along with two more by Birkmann presented in January of 1727, share several characteristics. With one exception, they are solo cantatas or dialogues between soloists portraying Christ and the soul. The texts use a subjective “I” as the speaker and describe inner devotion, taking a turn toward pietism, which is different from Bach’s previous Leipzig cantatas. He may have worked closely with Birkmann in preparing the text for BWV 169, for example, in the second movement, with its arioso variations on the motto “Gott soll allein mein Herze haben” alternating with recitative. The opening organ sinfonia was originally an instrumental concerto, perhaps for oboe or viola, that is now lost. Bach did not hesitate to reuse good music. The second aria of the cantata (the fifth movement) comes from the slow movement of this older piece; Bach added the vocal line alongside an already elaborate treble melody. Throughout the cantata, the string orchestra is enriched with a trio of oboes—two oboe d’amores and a taille (tenor oboe, played today on an English horn). Bach may have played the obbligato organ part himself right from the score, where it appears in the appropriate key for the church organ. Or perhaps he delegated the organist role in this and other cantatas of the time to his oldest son, 15-year-old Wilhelm Friedemann. Just two weeks later, Bach used the final movement of the lost instrumental concerto at the beginning of BWV 49, Ich geh und suche mit Verlangen. In the 1730s, Bach reworked this music yet again in his Harpsichord Concerto No.2 in E major, BWV 1053. Gwen Gotsch 20

BIOGRAPHIES

Photo: William Koechling

Michael D. Costello, director, has served as Cantor at Grace since June 2008. He has served as a church musician in several parishes and as a pastor at St. Andrew’s Lutheran Church in Columbia, South Carolina. A native of Pennsylvania, he graduated from Lenoir-Rhyne University in Hickory, North Carolina, and from Lutheran Theological Southern Seminary in Columbia, South Carolina. He has published choral and organ works with several publishers, is Artistic Director of Chicago Choral Artists, and serves on the Board of Directors for Lutheran Music Program. Mark A. Noll, homilist, is the Francis A. McAnaney Professor of History Emeritus at the University of Notre Dame. He previously taught for almost thirty years at Wheaton College. His publications include The Scandal of the Evangelical Mind (1994) and America’s God: From Jonathan Edwards to Abraham Lincoln (2002). He is also the author of Protestantism: A Very Short Introduction; “Historical Proximity: John Wesley Visits Leipzig in 1738” in the most recent number of Bach Perspectives; and an article on connections between Martin Luther and J. S. Bach in Christianity History. In 2016 he co-edited Protestantism after 500 Years from Oxford University Press. Angela Young Smucker, mezzo-soprano, has been featured with the Chicago Symphony Orchestra, Music of the Baroque, Oregon Bach Festival, Conspirare, Seraphic Fire, Santa Fe Desert Chorale, Haymarket Opera Company, Bach Collegium San Diego, Carmel Bach Festival, Newberry Consort, Leipzig Baroque Orchestra, Bach Institute at Valparaiso University, and other ensembles. She is pursuing her doctorate at Northwestern University and holds degrees from Valparaiso University and University of Minnesota. She is an alumna of the NATS Intern Program and Carmel Bach Festival Adams Masterclass Fellows. She is also co-founder and Executive Director of Third Coast Baroque. Steven Wente, organist, is Professor of Music and Organist to the Chapel of Our Lord at Concordia University, River Forest, Illinois, where he is chair of the music department, teaches organ and music history, and coordinates graduate programs in music. He is also music director at First Saint Paul’s Lutheran Church in Chicago. His organ teachers have included David J. Wilson, Herbert Gotsch, Robert Lodine, Richard Enright, and Wolfgang Rübsam. He keeps an active schedule as a teacher, workshop leader, and organ recitalist.

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SUPPORTERS GUARANTOR Miriam Bretscher in memory of Manuel Bretscher Christopher Family Foundation in memory of Walter and Maxine Christopher Carl J. Grapentine in memory of Eleanor F. Grapentine Sukup Family Foundation BENEFACTOR Douglas and Ann Anderson Gerald and Sarah Beatty Dennis Forgue in memory of Marcia Forgue Gieschen Family in memory of Roselyn Gieschen PATRON David and Gay Anderson Martin and Jill Baumgaertner Kenneth R. Belling Marguereite Bloch Karl and Daniele Bruhn Rev. Robert and Margaret Burke Marilyn Busse Julie Christopher Lois Cornils and Lou Torick Drs. John and Karen Danford Dr. Eunice Eifert Greg and Cynthia Fudala James and Sharman Galezewski Margaret Garmatz Richard Godfrey Frederick L. and Junita Borg Hemke in honor of Frederic J. B. Hemke and Elizabeth Hemke Shapiro James and Carol Hopwood Rev. Phyllis N. Kersten Dr. William and Nancy Raabe Carol Ramsay in memory of Jeanne and Robert Ramsay Greg and Cindy Rohlfing Drs. Gordon and Naomi Rowley

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Hildegarde Schmidt in honor of Paul Bouman’s birthday Robert Sideman Rosalie Streng Al and Irmgard Swanson Wesley and Dorothy Wilkie PARTNER Rev. Philip and Alice Bruening Rev. Arthur and Edith Constein Bruce and Nancy Cordes Gerald and Magdalene Danzer in memory of Rev. Donald Becker Paul Eichwedel Paul and Rachel Frese Rev. Daniel and Janet Gensch Carl and Donna Gruendler Lois Guebert Don and Marion Heinz George and Kate Hogenson Gerald and LaNell Koenig Paul and Cindy Koester Kathy Lucht Richard and Linda Martens Marilyn Moehlenkamp Rev. Thomas and Bonnie Noll James O’Hara Bill and Ellen Pullin Ruth Rehwaldt Martha Rohlfing Marilyn Rotermund John and Carolyn Sanderson Rev. Robert and Bonnie Shaner James Scherer and Liene Sorenson Eugene and Faith Schoon Deborah Seegers Dr. Donna L. Siermo Rhea Sprecher in memory of Manuel Bretscher, Marion Brown, Margaret Smith, Raymond Haliminiak Gerlinde VanDriesen Kurt Vragel Dr. Steven and Susan Wente

FRIEND Robert and Evy Alsaker Salvador and Diane Amati Carolyn Becker in memory of Rev. Donald Becker Rev. William and Gail Beckmann Paul Blobaum in memory of Melvin and Mary Lou Blobaum Dr. Mark Bouman and Mary Jane Keitel Nancy Brinkman Franz Burnier Daniel Cattau in memory of Rev. Holger and Olive Cattau Jeff and Leanne Cribbs Adele DeMooy in memory of Adrain and Claire Janel Dennen and Marc Stopeck Thomas Doyle Rev. Hans and Donna Dumpys Olinda Fink Art and Pat Grundke Rev. Paul Haberstock in memory of Dorothea Viera Chorba Robert and Kathy Hale David Heim and Barbara Hofmaier in memory of Matthew Hofmaier Heim Patricia Herendeen Dr. Charles and Jewel Laabs Dan Lopata Mark Lucht Rev. F. Dean and Beverly Lueking Rev. Bruce and Jackie Modahl Wendell and Pamela Nelson Melba Panhorst Randall and Janet Peterson Janine Ptasinski Rev. Karl and Ruth Reko John Rohlfing Don and Doris Rotermund in memory of Melvin Rotermund Patricia Schmidt Dr. William Schnell Doris Strieter

Rev. David F. and Eileen Walker Susan Weber George and Nancy Wohlford CONTRIBUTOR Rudolph and Jeanne Boehm Paul Bouman Dr. Stephen and Janet Bouman William and *Marion Brown Rev. H. David Brummer Marli Camp in memory of Sylvia Behrens Barbara Carlson Dan and Sharon Claud Bill and Jean Cooper Helen Costello Paul and Darlene Fahrenkrog Rev. Daniel and Ruth Feldscher Philip and Betty Gehring Jack Geiersbach Michael and Roberta Gillespie

Elizabeth Gotsch in memory of Rev. Richard J. Gotsch Evelyn Grams Sandra Grams Susan Hammon Joseph and Mary Lu Hanson David and Mary Helms William and Sharon Hoisington Rev. James and Nadine Ilten Dr. Natalie Jenne Tom and Jan Kay Rudolf Lass Leslie Lauderdahl Christyne Lettermann in memory of Betty Lou Kelly Carol Lewis in memory of Alvin and Eveyln Haase Dr. Justin List Rev. David and Erika Lyle Megan New John Menet and Beverly White

Dr. Carlos* and Susan Messerli James and Darlene Miskovic Diane Moses Dr. Donald and Verna Offermann Carol Olsen Douglas Rainey Gail Rohlfing John and Carolyn Sanderson Paul and Joy Satre Dr. Carl Schalk Ruth Schnell Scott and Charlene Schwar Sallie Smylie Eunice Spurgat Janet Sylvester Norma Trautmann in memory of Harry Trautmann Karin Waltz Gordon and Frieda Wilson *Deceased

IN MEMORIAM + HAROLD T. ROHLFING The following individuals or organizations have contributed to the Bach Cantata Vespers ministry in memory of Harold T. Rohlfing: Sandra Batmangelich and John Woods Alex and Kim Shimkus Dorothea Hines Ronald Blackford Sallie Smylie Natalie Holleran Dr. Mark Bouman and Mary Jane Keitel James and Judy Kerns Gilda Spencer Josette Bush Al and Irmgard Swanson Kirkland & Ellis Foundation Anne Chilstrom Don and Mavis Thomas Garret Leach Richard and Shirley Colberg Nicole White Kendall Mills Nancy and Bruce Cordes Rev. Wes and Dot Wilkie Dawn Radvansky Jeff and Leanne Cribbs Claire Winter Ruth Rehwaldt Scott Fowkes John Rohlfing Judy Gaston Hildegarde Schmidt THANK YOU The presentation of Bach Cantata Vespers is made possible by the contributions of many donors who are gratefully acknowledged. Please inform the Grace business office of any errors or omissions. This listing of our supporters acknowledges contributions to the 47th season of Bach Cantata Vespers, beginning July 1, 2017. Donations received after February 11 will be acknowledged in the March 25 bulletin of Grace’s Bach Cantata Vespers. Special thanks are extended to Leonard Berghaus for tuning the portativ organ, to Dr. Karen P. Danford for her translations from the German to English, and to Gwen Gotsch for providing notes on the cantata. Thank you for your continued support of this ministry, for your attendance at the services, and for your prayers. Soli Deo Gloria!

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